faces turn into weird grimaces and the image of
lected by the critics. They were light efforts, either
the kid running toward the camera suddenly
starring Franchi & Ingrassia or belonging to the sexy
slows down, freezes and cracks into a thousand
thread (Una sull’altra) or the Italian thriller (Non si
pieces, accompanied by Mary’s screams and the
sevizia un paperino).
ominous sound of thunder. Black screen, end
With Paura nella città dei morti viventi, Fulci
credits. This abrupt closure—decided at the
seemingly wants us to forgive his earlier slips into
eleventh hour in post- production, upon the sug-
bad taste, vulgarity and an often- inattentive routine.
gestion of the editor, Vincenzo Tomassi, who
He has made a movie which, although not recom-
noticed a sudden change of expression on De
mended for easily impressionable viewers, is the sign
Mejo and MacColl’s face near the end of the
of a reached expressive maturity… . The story has an
take—is both infuriating and chilling, as it ar-
engrossing pace. It is a succession of events that pro-
bitrarily denies any trace of a happy ending.
gressively create a nightmarish atmosphere, and
Such a final act of annihilation and an anarchic
Fulci, like a great puppeteer, pulls the strings, at times
even allowing himself some figurative preciousness.
stab at conventions is perfectly in tune with
His film ends up becoming a true grand guignol spec-
Fulci’s approach to cinema, which he self-
tacle, with the bloody and gruesome scenes typical
described as being a “terrorist of genres… . I’m
of the genre.8
working inside the genre, but every now and
then I ignite a bomb that attempts to make the
It was a sign the director was starting to earn crit-
genre explode.”6 Which is exactly the case here.
ical recognition in his home country that went
Paura nella città dei morti viventi was re-
beyond the usual bias toward horror films. Soon
leased in Italy with a predictable V.M.8 rating,
the younger critics, such as Claudio Carabba,
to somewhat disappointing box- office grosses
would openly praise his work, giving way to a
of slightly less than a billion lire, despite a mem-
gradual critical reevaluation.
orable press campaign: the ads featured a laugh-
The film was distributed theatrically all
able gimmick worthy of William Castle, a warn-
over Europe, including the Netherlands, Spain,9
ing by a “Prof. Sven Cuzak,” primary of the “III
Portugal and West Germany. The German
Cardiology Clinic at Houston University”: “…
edit was sensibly shorter, as the distribution
and therefore I discourage the vision of the film
company Alemannia/Arabella removed about
Paura nella città dei morti viventi to subjects suf-
ten minutes of expository and dialogues scenes
fering of cardiocirculatory imbalances: the
to make the story faster, although the violent
0 1980: Paura scenes were left uncut. It was a huge box- office
it featured several patently fake interviews
hit. On the other hand, the U.K. theatrical ver-
(among the interviewees were 6-year-old kids
sion, passed by the BBFC on December 0, 98,
reciting lines they had obviously memorized,
was cut by one minute by the distributor Eagle
such as “If nobody is decapitated, a movie is
Films, to remove the drill sequence.20 In Great
boring”), interspersed with gory footage from
Britain, the film (and its director) found one of
horror films—including titles such as Mother’s
its staunchest defenders, Starburst’s Alan Jones,
Day (980, Charles Kaufman) and Mangiati
who praised its “claustrophobic atmosphere full
vivi!—commented by a teacher who warned her
of menace” and called Fulci “a master of … ma-
students’ parents of the impending danger rep-
nipulation… . At this stage in the game his talent
resented by horror videotapes. Some of the most
cannot be called merely accidental.”2 Film and
violent scenes in Fulci’s film were included.
Filming’s Julian Petley drew a favorable compar-
Mama, Papa, Zombie triggered a wave of
ison, calling the film “reminiscent of Tourneur
seizures against horror videos which marked a
… in its greater reliance on the power of sug-
turn of the screw in the history of German film
gestion, its crepuscular air and its conjuration
censorship. In the early 980s, the German
of a nightmarish Other World out of simple
distributors had had a rather unusual freedom,
everyday reality.”22 But most critics were not im-
and such titles as L’aldilà, Maniac and Cannibal
pressed, to put it mildly, even more so on the
Ferox were released theatrically uncut, but after
other side of the Atlantic.
Mama, Papa, Zombie all this ended abruptly.
Released in the United States in May 983,
Fulci’s film was banned and prints of the 983
Fulci’s film was originally advertised as Twilight
German Euro Video VHS Ein Zombie hing
of the Dead but, following a cease and desist
am Glockenseil (A Zombie Hung on the Bell
order on the part of United Film Distribution
Rope)—running 80 minutes and 36 seconds—
Company, the U.S. theatrical distributor (Motion
were confiscated by order of the District Court
Picture Marketing) pulled poster and prints and
of Munich dated July , 986. An abridged ver-
released the movie with the title The Gates of
sion, Ein Toter hing am Glockenseil (A Dead
Hell. Reviews were generally scathing (“No one
Body Hung on the Bell Rope), running 7 min-
with any hope of being entertained should waste
utes and 40 seconds, was released in 988 on the
their time or money to see it”23) if not downright
GM- Vilm label: it was missing complete dia-
offensive:
logue sequences and most of the gore (the vomit
scene was only hinted at, but part of the drilling
When I want to see a badly dubbed idiotic Italian
scene was still visible, namely the bit when the
cheapie, I’ll take Steve Reeves, thanks. I will not—
drill comes out of the victim’s head). This too
willingly—take something like The Gates of Hell, a
was banned and confiscated by order of the Dis-
badly dubbed, idiotic sleaze fest with nothing to offer
trict Court of Munich dated May 26, 988. A
but an abundance of filmed animal innards. The only
third, slightly more trimmed version, Eine
interesting aspect is watching the mostly European
cast try to adjust their Continental cadences to di-
Leiche hing am Glockenseil (A Corpse Hung on
rector Lucio Fulci’s
muddled vision of Middle Amer-
the Bell Rope) also on the GM- Vilm label, came
ica—sort of a heartland smothered in mozzarella.24
out in 99 and was banned by order of the Dis-
trict Court of Munich dated January , 200. A
In West Germany, Paura nella città dei
fourth, Ein Kadaver hing am Glockenseil, was fi-
morti viventi became the target of a notorious
nally released with an FSK-6 certificate.
press campaign after the broadcasting in June
France, as it had happened with Riccardo
984 of the sensationalist TV reportage Mama,
Freda and Mario Bava, was the country that em-
Papa, Zombie—Horror für den Hausgebrauch on
braced more enthusiastically Fulci as an auteur.
the channel ZDF. The 4-minute film, directed
One of the key moments in his career was Paura
by Claus Bienfait, denounced it as an exemplary
nella città dei morti viventi’s screening at the 0th
case of the ultra- violent movies available to mi-
“Festival international du film fantastique et de
nors in the home video market: in fact, the Ger-
science- fiction” in Paris (as Frayeurs),2 where it
man motion picture rating system, FSK, only
was given the “Grand Prix du Public” (the au-
examined theatrical releases, whereas videos
dience award). Fulci used to recall with great
could be borrowed virtually by people of all ages.
pride an episode that happened after the screen-
Rather than a documentary, Mama, Papa, Zom-
ing: a girl in a wheelchair approached him from
bie was closer in concept to a Mondo movie, as
the audience and thanked him “for the horrors
1981: L’altro
that you made me experience during the film.
film in Kill Bill: Vol. 1, when Gogo Yubari (Chiaki Kuriyama)
They made me feel free. Not like in the outside
dies crying tears of blood.
11. Alessandro Tordini, Così nuda così violenta. Enci-
world.”26 An anecdote which summarizes per-
clopedia della musica nei mondi neri del cinema italiano
fectly the director’s concept of the horror film
(Rome: Arcana, 202), 20.
as a cathartic shock.
12. Unlike what some sources state, Gino and Giannetto
The bi- monthly magazine L’Écran fantas-
De Rossi and Maurizio Trani did not work on the special
tique gave ample coverage to the film. A raving
effects for the film, save for Giannetto De Rossi’s
uncredited help (he took a cast of Giovanni Lombardo
one- page review (with stills from Lombardo
Radice’s head) for the skull- drilling scene.
Radice’s death scene) called it a “definitive film
13. Albiero and Cacciatore, Il terrorista dei generi, 27.
[on zombies] after which it will be useless to re-
14. John Martin, “Lucio Fulci: L’Edgar Poe du 7ème art,”
visit the same subject matter, and which ranks
L’Écran fantastique #49, May 996, 28–34.
15. Robert Schlockoff, “Entretien avec Lucio Fulci,”
Lucio Fulci among the best craftsmen of a
L’Écran fantastique #6, January 98, 20.
certain branch of the fantastique.”27 On the same
16. Marcello Garofalo and Antonietta De Lillo, “Il cin-
issue, the magazine’s editor- in-chief Robert
ema del dubbio. Intervista a Lucio Fulci,” in Manlio Go-
Schlockoff conducted a four- page interview
marasca and Davide Pulici (eds.), L’opera al nero. Il cinema
with the director, which consecrated him as “the
di Lucio Fulci. Nocturno Dossier #3, September 2002, 8.
17. G.Gs. [Giovanna Grassi], “Con gli zombies nella
new master of horror.” At over 0 years old,
città sconvolta,” Corriere della Sera, August 2, 980.
Lucio Fulci had become Italy’s “poet of the
18. O.G., “Terribili morti resuscitano e uccidono nel
macabre.”
grand guignol (con classe) di Fulci,” La Stampa, August 7,
980.
N
19. According to the official ministerial data, it was seen
otes
by 8,6 spectators and grossed an amount corresponding
1. Dardano Sacchetti interviewed, in www. davinotti.
to 77,06 Euro (http:// infoicaa. mecd. es/ CatalogoICAA/
com (http://www.davinotti.com/index. php?option=com_
Peliculas/ Detalle?Pelicula= 80).
content&task=view&id=70)
20. The same version was released on video before 984.
2. Paolo Albiero and Giacomo Cacciatore, Il terrorista
Subsequently, when it was submitted to the BBFC for a
dei generi. Tutto il cinema di Lucio Fulci—Seconda edizione
video certificate, further cuts were made to eliminate
aggiornata (Palermo: Leima, 20), 2.
Daniela Doria’s intestinal vomit scene and the brain
3. Ibid., 24.
squashing bits, for a total of 2 minutes and 2 seconds. The
4. Ibid., 27.
film later passed uncut in 200.
5. According to the Public Cinematographic Register,
21. Alan Jones, Starburst #48, 982.
shooting started on March 24, but the date (reported to
22. Julian Petley, “City of the Living Dead,” Films and
the register for bureaucratic purposes) shall likely be post-
Filming #333, June 982.
poned by a few weeks.
23. Dick Fleming, The Daily Times, Salisbury, Maryland,
6. Michele Romagnoli, L’occhio del testimone (Bologna:
September , 983.
Granata Press, 992), 4.
24. Eleanor Ringel, The Atlanta Constitution, September
7. Sacchetti interviewed, in www. davinotti. com.
9, 983.
8. The original story is summarized and discussed in
25. Other Italian films screened in competition the fes-
Manlio Gomarasca and Davide Pulici, “La paura
tival were Apocalypse domani, Contamination, Macabro,
dell’aldilà,” Nocturno Cinema #, March 202, 66–69.
and Ugo Tognazzi’s dystopian drama I viaggiatori della
9. The scene features porn actor Michael Gaunt (born
sera. Fulci’s Sette note in nero was screened out of compe-
Michael J. Dattorre) as one of the gravediggers. The other
tition, together with Argento’s Profondo rosso.
one is the blond Perry Pirkanen, one of the leads in De-
26. Romagnoli, L’occhio del testimone, 24.
odato’s Cannibal Holocaust and Lenzi’s Cannibal Ferox.
27. Pierre Gires, “Frayeurs,” L’Écran fantastique #6, Jan-
10. Besides the premature burial scene in Kill Bill: Vol.
uary 98, 7.
2, Tarantino included another passing reference to Fulci’s
1981
L’altro Inferno (The Other Hell, a.k.a. The
C.E.M.S.A.); E: Liliana Serra; AD: Maurizio Tan-
Guardian of Hell)
fani; MU: Giuseppe Ferranti; Hair: Maria Teresa
D: Stefan Oblowsky [Bruno Mattei] [and
Carrera; ACO: Claudio Bissattini; APD: Francesco
Claudio Fr
agasso, uncredited]. S: Bruno Mattei,
Raffa; C: Sergio Melaranci; AC: Luca Odevaine;
Claudio Fragasso; SC: Claudio Fragasso; DOP:
W: Elda Chinellato; KG: Mario Boccanegra;
Giuseppe Berardini (LV-Luciano Vittori); M:
ChEl: Roberto Roberti; SP: Domenico Cat-
Goblin (Ed. Grandi firme della canzone/Bixio
tarinich; SO: Paolo Picchi; Mix: Danilo Moroni,
2 1981: L’altro Luigi Di Fiore. Cast: Franca Stoppi (Mother Vin-had to be a profit on the budget and I suggested
cenza), Carlo De Mejo (Father Valerio), Francesca
we invest it in a second movie, which would be
Carmeno (Elisa), Susan Forget [Susanna Far-
00% ours. And so, we reinvested the profit on
getta] (Sister Rosaria), Frank Garfeeld [Franco
L’altro Inferno. We shot them both in parallel.
Garofalo] (Boris), Paola Montenero (Sister As-
When you shoot two movies in one, the saving
sunta), Sandy Samuel [Daniela Samueli] (Cata-
is substantial.”
tonic Nun), Andrew Ray [Andrea Aureli]
La vera storia della monaca di Monza was
(Father Inardo); uncredited: Dolores Calò (Nun),
an erotic retelling of the story of the Nun of
Tom Felleghy (The Cardinal), Simone Mattioli
Monza, included in Alessandro Manzoni’s 827
(Priest), Pupita Lea Scuderoni (Nun). PROD:
novel I promessi sposi (a.k.a. The Betrothed),
Arcangelo Picchi for Cinemec Produzione S.r.l.;
along the lines of the so- called “nunsploitation”
PS: Silvio Colecchia; PSe: Giovanna Quadrini;
thread which included such titles as Interno di
ADM: Pierluigi Tarabusi. Country: Italy. Filmed
un convento (978, Walerian Borowczyk) and Im-
at Convento di Santa Priscilla (Rome), Cimitero
magini di un convento (979, Joe D’Amato [Aris-
delle Fontanelle (Naples) and Icet De Paolis stu-
tide Massaccesi]). L’altro Inferno was instead con-
dios (Milan). Running time: 94 minutes (m.
ceived and marketed as a rip- off of Inferno, to
282); theatrical version: 88 minutes. Visa n.
the point that the title font in the opening credits
7322 (7.23.980); Rating: V.M.8. Release dates:
is roughly the same as Argento’s film.
.22.98 (Italy), 0.2.98 (France), 2.4.98
Shooting took place at a convent built in
(UK), .7.983 (Spain), 9.6.98 (USA). Distri-
the 920s, above the ancient Roman catacombs
bution: Accord Cinematografica. Domestic gross:
Italian Gothic Horror Films (1980-1989) Page 15